Was ever known so great and little loss
On one part and on th’ other? Take it, God,
For it is none but thine![219]
He is little concerned with that play of human psychology on the Greek side, which forms so brilliant a page of Herodotus. Even when he narrates that trick by which the conflict was precipitated, the false message from Themistocles to Xerxes, nothing is said of the reasons for sending it. Though the antecedent “facts” are known, yet he chooses to tell what he does indeed regard as the truth, that the whole error of the king came from “a fiend or evil spirit,” and that he fell into the trap because “he perceived not the guile of the Greek nor the spite of Heaven”.[220] On the Greek side, then, “the creatures of a day” are lost in the vision of eternal righteousness. But the poet has no such reason to obliterate the mighty names of Persia. Almost the whole effect of them is for us lost; but to an Athenian ear these barbaric polysyllables must have sounded with all the pomp of an ancient chivalry, the waves of the boundless and terrible Orient descending in deluge upon the tiny states of Hellas. But the billows at their highest had been stayed and had sunk; the appalling roll of warlike titles was changed into a proclamation of glory—but not the glory of Greece. No Greek name is immortalized in this play, which resounds at every moment with the name of God.
The Seven Against Thebes[221] (Οἱ Ἑπτὰ ἐπὶ Θήβας) was produced in 467 B.C. and deals with the fratricidal quarrel of the sons of Œdipus. Eteocles, the elder, had become King of Thebes and expelled his brother Polynices. The latter with six comrades-in-arms and an host led by Adrastus, King of Argos, attacked the city. The seven invading champions were met at the seven gates by as many Theban warriors. The scene is laid in an open space in the town. A messenger brings to Eteocles the news that the enemy are on the point of assaulting the walls. The chorus, consisting of Theban maidens, enter, and in a vivid lyric express their frantic terror. Eteocles attempts to calm them, urging that their outcries will demoralize the citizens; but soon they burst forth again into wild forebodings. Then follows a long scene in which the messenger describes the seven heroes who are to attack at the seven gates. As each is described Eteocles allots one of his comrades for defence. The seventh enemy is Polynices, the king’s own brother; Eteocles, spurred on by the curse of his house, declares that he will himself confront Polynices. He rushes away and the maidens lament the frightful story of Œdipus’ curse. The messenger returns with the news that the invaders have been routed and that the brothers have fallen by each other’s hand. After the chorus have lamented this crime, the corpses are brought forward, accompanied by Antigone and Ismene, sisters of the dead, who utter an antiphonal dirge. They are interrupted by a herald who proclaims the decree of the “people’s councillors”. Eteocles is to be honourably buried; his brother is to be left to the dogs and birds of prey. Antigone defies the decree and declares that she will bury Polynices. The chorus divide into two parties, one supporting Antigone, the other giving obedience to the State.
This tragedy won the prize. The trilogy consisted of Laius, Œdipus, the Seven, with the Sphinx as satyric play. Aristeas and Polyphradmon, the sons of Pratinas and Phrynichus respectively, were second and third. Very little is known about the companion plays. The Laius contained a reference to the exposure of the infant Œdipus; the Œdipus described the death of Laius.
The Seven is a magnificently vigorous and graphic presentment of war in one of its aspects. As such it is eulogized by Aristophanes, who puts into the mouth of Æschylus the boast that he “composed a drama full of the War-God—my Seven against Thebes”.[222] The chief excellences are the first chorus and the celebrated Choosing of the Champions. This latter contained the best-known passage in the play, where the messenger says of Amphiaraus:—[223]
σῆμα δ’ οὐκ ἐπῆν κύκλῳ
οὐ γὰρ δοκεῖν ἄριστος, ἀλλ’ εἶναι θέλει,